Life Is Strange and ‘‘Games Are Made’’: A Philosophical Interpretation of a Multiple-Choice Existential Simulator With Copilot Sartre

The multiple-choice video game Life is Strange was described by its French developers as a metaphor for the inner conflicts experienced by a teenager in trying to become an adult. In psychological work with adolescents, there is a stark similarity between what they experience and some concepts of existentialist philosophy. Sartre’s script for the movie Les Jeux Sont Faits (literally ‘‘games are made’’) uses the same narrative strategy as Life is Strange—the capacity for the main characters to travel back in time to change their own existence—in order to stimulate philosophical, ethical, and political thinking and also to effectively simulate existential ‘‘limit situations.’’ This article is a dialogue between Sartre’s views and Life is Strange in order to examine to what extent questions such as what is freedom? what is choice? what is autonomy and responsibility? can be interpreted anew in hybrid digital–human—‘‘anthrobotic’’—environments

Brechtian Alienation in Videogames

Immersion is constantly being broken in video games via the intrusion of mechanics and features that cause no end of distraction, breaking the player’s engagement in both the game’s narrative and in the gameplay. Yet these breaks are an integral part of games, whether through loading, saving or any other mechanical system that detracts from the playing the core game. These aren’t analysed as thoroughly as they could be in current game academia. However Bertolt Brecht’s “Verfremdungseffekt”, or distancing effect, provides a much needed foundation in the analysis of these sections within games that provoke a feeling of alienation

Do we need permission to play in public? The design of participation for social play video games at play parties and ‘alternative’ games festivals

Play is a fundamental to being Human. It helps to make sense of the self, to learn, to be creative and to relax. The advent of video games challenged traditional notions of play, introducing a single player experience to what had primarily been a communal social activity. As technology has developed, communal play has found both online and real-world spaces within video games. Online streaming, multiplayer games and built-in spectator modes within games underpin online communal play experiences, whilst ‘alternative’ games festivals, play parties and electronic sports, provide real world spaces for people to meet, play and exchange knowledge relating to both playing and making video games. This article reports the study of social play events which bring people together in the same space to explore video games making and playing. Expert interviews with curators, and event facilitators provides qualitative data from which design processes are formalised into a ‘model of participation’ of social play. Four key areas of balance are proposed as core considerations in supporting participation in event design. The study of these events also suggests that their design and fostering of participation has the potential to evoke cultural change in game making and playing practices

‘In the game’? Embodied subjectivity in gaming environments

Human-computer interactions are increasingly using more (or all) of the body as a control device. We identify a convergence between everyday bodily actions and activity within digital environments, and a trend towards incorporating natural or mimetic form of movement into gaming devices. We go on to reflect on the nature of player ‘embodiment’ in digital gaming environments by applying insights from the phenomenology of Maurice Merleau-Ponty. Three conditions for digital embodiment are proposed, with implications for Calleja’s (2011) Player Involvement Model (PIM) of gaming discussed

Worlds at our fingertips:reading (in) <i>What Remains of Edith Finch</i>

Video games are works of written code which portray worlds and characters in action and facilitate an aesthetic and interpretive experience. Beyond this similarity to literary works, some video games deploy various design strategies which blend gameplay and literary elements to explicitly foreground a hybrid literary/ludic experience. We identify three such strategies: engaging with literary structures, forms and techniques; deploying text in an aesthetic rather than a functional way; and intertextuality. This paper aims to analyse how these design strategies are deployed in What Remains of Edith Finch (Giant Sparrow, 2017) to support a hybrid readerly/playerly experience. We argue that this type of design is particularly suited for walking simulators because they support interpretive play (Upton, 2015) through slowness, ambiguity (Muscat et al., 2016; Pinchbeck 2012), narrative and aesthetic aspirations (Carbo-Mascarell, 2016). Understanding walking sims as literary games (Ensslin, 2014) can shift the emphasis from their lack of ‘traditional’ gameplay complexity and focus instead on the opportunities that they afford for hybrid storytelling and for weaving literature and gameplay in innovative and playful ways

Ecoso exchange newsletter 2/5; Aug. 1989

In this Issue: Pages: 1. Cluster and Connect - The Nunawading Energy Study 3. 2020. A Sustainable Healthy Futures 4. Question of Greenhouse - Public Health Association 5. Rainbow Sustainable Society Seminar - Two Scenarios 5. Obstacles to Urban Reform (Talk at Rainbow Seminar) 5. Rainbow Day of Action 6. Traffic Calming (Report by a Brisbane Action Group) 6. Local Democracy at Work (A New Video) 7. New Left Party - Ideas on Sustainable Societies 9. Franchise Child Care - A Warning from USA 9. Victorian Public Library and D.A.T.E. 9. Subscription Form for New Subscribers 10. A Government Glossy - "Housing for All" 10. Melbourne in Crisis - Public Forums 10. Olympic Games and the Multi-Functional Polis (MFP) 10. Mark August 20th in Your Diary Now! 11. Olympics and Economics, Ecology, Employment, and Equit

Research methodologies in creative practice: literacy in the digital age of the twenty first century - learning from computer games

Literacy remains one of the central goals of schooling, but the ways in which it is understood are changing. The growth of the networked society, and the spread of Information and Communications Technologies (ICT), has brought about significant changes to traditional forms of literacy. Older, print based forms now take their place alongside a mix of newer multi-modal forms, where a wide range of elements such as image, sound, movement, light, colour and interactivity often supplant the printed word and contribute to the ways in which meaning is made. For young people to be fully literate in the twenty-first century, they need to have clear understandings about the ways in which these forms of literacy combine to persuade, present a point of view, argue a case or win the viewers’ sympathies. They need to know how to use them themselves, and to be aware of the ways in which others use them. They need to understand how digital texts organise and prioritise knowledge and information, and to recognise and be critically informed about the global context in which this occurs. That is, to be effective members of society, students need to become critical and capable users of both print and multimodal literacy, and be able to bring informed and analytic perspectives to bear on all texts, both print and digital, that they encounter in everyday life. This is part of schools’ larger challenge to build robust connections between school and the world beyond, to meet the needs of all students, and to counter problems of alienation and marginalisation, particularly amongst students in the middle years. This means finding ways to be relevant and useful for all students, and to provide them with the skills and knowledge they will need in the ICT-based world of the Twentyfirst century. With respect to literacy education, engagement and technology, we urgently need more information as to how this might be best achieved

Mom, Dad It’s Only a Game! Perceived Gambling and Gaming Behaviors among Adolescents and Young Adults: an Exploratory Study

Gambling and gaming are increasingly popular activities among adolescents. Although gambling is illegal in Portugal for youth under the age of 18 years, gambling opportunities are growing, mainly due to similarity between gambling and other technology-based games. Given the relationship between gambling and gaming activities, the paucity of research on gambling and gaming behaviors in Portugal, and the potential negative consequences in the lives of young people, the goal of this study was to explore and compare the perceptions of these two behaviors between Portuguese adolescents and young adults. Results from six focus groups (three with adolescents and three with young adults, comprising 37 participants aged between 13 and 26 years) indicated different perceptions for the two age groups. For adolescents, gaming was associated with addiction whereas for young adults it was perceived a tool for increasing personal and social skills. With regard to gambling, adolescents associated it with luck and financial rewards, whereas young adults perceived it as an activity with more risks than benefits. These results suggest developmental differences that have implications for intervention programs and future research

Gaming capital: Rethinking literacy

This paper is part of the symposium: Gameplay, gameplayers and gaming capital: Exploring intersections between games, education and adolescent subjectivities in virtual worlds PEER REFEREEING REQUIRED In rethinking literacy education in light of unprecedented technological change, this paper reports on adolescent gamers and their accumulation of gaming capital. This is in opposition to more pervasive assumptions about gaming as mindless entertainment, learning simulations, ideological tools and interactive mediums for the masses. We see the need to research the medium of games in their entirety, exploring their uniqueness as a medium--while at the same time--making connections to a wider media ecology (Fuller, 2005) that includes more than the games themselves. This media ecology of videogames is demonstrated in part by the 'paratextual' (Consalvo, 2007) industries that support game play, production and design. The 'paratext' is central to gaming capital in creating individual and group systems of distinction within gaming culture. Because we understand videogames as actions across social fields enacted through the actions of players or 'operators' on software, we also deem it necessary to understand both the operator and machines' diegetic and non-diegetic actions (Galloway, 2006). This distinction allows us to think about games as more than texts, literacy practices and narratives, which highlights games' significance in technoclture as systems (Salen, 2008), procedures (Bogost, 2007), algorithms (Galloway, 2006; Wark, 2007), configurations and code (Lessig, 1999; Manovich, 2001). In conclusion we provide a series of interview questions developed to uncover adolescents' gaming capital. We also propose a heuristic to map a players' total volume of gaming capital to better understand how gaming capital establishes trajectories of exchange between cultural and economic capitals and its implications for literacy education

Breaking immersion: A theoretical framework of alienated play to facilitate critical reflection on interactive media

There is a growing interest in understanding how to best represent complexity using IDNs. We conceptualize this as the aim to make players of such IDNs reflect critically on the complexity being represented. We argue that current understandings of player experience do not lend themselves to this aim. Research on interactive media has assumed immersion to be a universal positive for the player experience. However, in this article we argue that immersion into the Magic Circle of an IDN could be antagonistic to a critical experience. This is because immersion persuades players into suspending their disbelief, rather than facilitating critical reflection. Instead we propose, on the basis of the Epic Theater, an alternative form of play called alienated play. Meaning, a form of play in which the player is playing, while also observing themselves play. This form of play should allow for players to benefit from the enjoyable nature of play, while simultaneously remaining at a critical distance. To illustrate our theory we design two models, one for immersed play and one for alienated play. Furthermore, we present examples of the design for alienation in commercial video games, as well as hypotheses to test out theory in future research. Therefore, this work contributes an initial theoretical and practical informed form of play, specifically designed to facilitate critical reflection on IDNs representing complexity